Pages

Saturday, December 31, 2011

Hope in 2012 everything
that you hold meaningful
remains and thrives in your life,
a bountiful, living garden,and,
if you have unfulfilled wishes,
they come to fruition and blossom
in all the ways that you would most like.
*hugs and love, Brenda

A few layers of GAC-100 (artificial rabbit glue) on the paper prepares it for painting. I found the GAK gives you a little time to change your mind - you can dab the colour out before it sets permanently, so it is a little more forgiving than unsized paper which absorbs the colour instantly. It has a satin shine that is not like a varnish because it grabs the inks and sets them. It is faintly glossy, like brushed egg whites on cooked pastry, beneath the paint, which overlays it and is opaque. The GAK is not like a varnish because it is underneath the paint. It gives a luminescence to the painting that the camera does not quite capture.

I have no idea how you would varnish a piece like this. A matte finish would destroy that faintly glossy luminescence, and a satin finish would remove the deep opacity of the paint.

Which means, keep paintings like these in my book, or framed under glass. It is a fragile surface that I would not wish to intrude upon with a fixative.

A dimly wrought portrait of my daughter. Because I could not work with the paint for too long, I was not able to get a likeness. The woman in this painting is older than my daughter and does not really resemble her. Her energy is here, though.

Thursday, December 29, 2011

This is a very good and very entertaining reading! I watched many times creating the video, and am still not bored! He's good, that Brandon man.

Brandon Pitts at his book launch for 'Puzzle of Murders,' published by Bookland Press, at the Toronto Public Library on November 6, 2011. Brandon was introduced by the publisher, Robert Morgan. http://brandonpitts.com

A video by Brenda Clews.

Notes on the video:

Editing this video, I came to enjoy the intermittent gritty, shaky, out-of-focus quality of the clip, and did not remove it; it provides texture to the reading. It helps to impart the sense of Geist (mind, spirit, or ghost), of the author, of the insane logic of the central character of Puzzle of Murders, of the murder mystery itself. It is as if ghosts and blood and memory swirl about. There is a bodily sense of the videographer in the fuzzy hand-held quality also, another Geist. That is the eye of the videographer, and it transmits a moving image to the audience viewing the scene. It is the eye of the world watching, or perhaps its ghosts. The view is not smooth, featureless, glossy, but cinematically uneven, rough. These imperfections in the video normally would be removed in editing. I resisted, then became accustomed to them, then began to understand that where the picture has a gritty motion is where the ocean of words seeps into the vessel of the reading from the novel. That's where the salt water enters with its briny catch of krill and seaweed and skeletal remains. The imperfections give texture to what is charming, beautiful. Beauty cannot approach us in its wholeness without its flaws, deformities, fragmentations. Slice-of-life, it's messy on the edges, it has its own reality. The book is full of slips and fissures, so is the video of the launch. I hope you enjoy what I have created from my video of the event.

I finished this video on Brandon's birthday, December 28th, 2011, a perfect birthday present for him.

She has edited textbooks, written articles for newspapers, taught yoga, done temporary office work, and dog sitting, while maintaining a reclusive lifestyle of writing and painting. She has a degree in Fine Arts and abandoned a PhD in English Lit many years ago.

Brenda has had solo art shows at York University (2000), Q Space (2013) and Urban Gallery (2014), and been in a number of group art shows including 'Birthtales' (1992) at A Space, 'Birth2' (2004) at Ayer Lofts in the US, '5 By 5' (2013) at The Gladstone Hotel, and forthcoming at Bampot and Yellow House Gallery (2014). Her artwork has appeared in 'Addiction to Perfection' and as two journal covers and in a poster for ‘ARM Magazine.’

Her poetry has been published in print journals, 'Tessera,' 'ARM Journal' and 'Labour of Love,' and on-line at 'SaucyVox,' 'Qarrtsiluni,' 'Mothers Movement Online,' and 'The Browsing Corner.' She presented papers yearly at conferences at York University and OISE on the maternal body from 2001-2006. Her video poetry has been featured at 'Moving Poems.'

LyricalMyrical Press published her chapbook, 'the luminist poems' in 2013. She has a full-length collection of poetry, 'Tidal Fury,' forthcoming with Guernica Editions. She hosts monthly Poetry Salons with 2-3 featured poets and open mic at Urban Gallery in Toronto.

She cites her early years spent barefoot, living in a compound of mud huts, with many wild animals and the wonderful Ndembu people, in the jungle of Kafue National Park in Zambia, for her deep resonance with the beauty, strangeness and brilliance of the tribal mind and the natural world.

She is a multi-media artist whose approach to a topic may include poetry, painting, theory, dance, recordings, and video. Brenda's oeuvre focuses on the plethora, the multiple callings, the obsessive muse, the prism rather than the spotlight, or on multiple spotlights. She writes, "Where else do you flee? How do you combine yourself?"